Fables on Global Warming

LIED CENTER PRESENTS

This event is sponsored, in part, by the Lied Performance Fund.

Please be mindful of the following in the auditorium and the Pavilion:

• Pleasesilencecellularphonesandelectronicdevices• Nofoodordrink• Nocamerasorrecordingdevices• Nosmoking

SAT7:30 p.m.

SEP 28

This event is made possible through the generous support of A. Scott and Carol L. Ritchie.

Fables on Global Warming

Armitage Gone! DanceCreated by Lawrence native Karole Armitage

FABLES ON GLOBAL WARMINGDirector/Choreographer: Karole Armitage

Composer/Lyricist: Corey Dargel

Visual Director: Doug Fitch

Lighting Designer: Clifton Taylor

Dramaturge: Katharina Otto-Bernstein

Scientific Consultant: Dr. John Harte, UC Berkeley

Armitage Gone! Dancers: Ahmaud Culver, Cristian Laverde Koenig, Daniel LaMont Moore, Abbey Roesner, Lourdes Rodriguez,

Emily Wagner and Masayo Yamaguchi

FABLES O N G LO BAL WAR M I NG

There is no intermission during this performance.

Fables on Global Warming was made possible by the New England Foundation

for the Arts’ National Dance Project, with lead funding provided by Krannert

Center for the Performing Arts, University of Illinois at Urbana-Champaign,

through its Advancing the Incubation and Development of New Work in Dance

initiative funded by The Andrew W. Mellon Foundation and by the Doris Duke

Charitable Foundation. Additional funding provided by the MetLife Foundation,

the National Endowment for the Arts and the musical score commission by the

Charles and Joan Gross Family Foundation.

There is no intermission during this performance.

Fables on Global WarmingTHE MARRIAGE OF THE SUNThe sun decides that he is lonelyMaking everyone’s day but his ownHe decides to take himself a wifePerhaps another starSomeone to brighten his own life

The birds and the beesAre filled with delightThey know how these things goNow every dayWill be twice as brightWe must let everyone knowSo naturally they made a beelineAs they sang“Let it be knownNow two suns will shineWhere once only one sun had shone”

No more rains, no more fogsAll rejoiced except the frogsWho thought, “One sun is bad enoughWe’ve had enoughSo we shall take a harsh standTwo suns will dry up our marshlandOur world will come undoneUnder more than one sunOur world will come undoneUnder more than one sun”

THE TORTOISE AND THE HARENo lyrics

THE MEASURE WORM ROCKThe air is so dryNo rain in yearsWe can’t even cryWe’ve run out of tears

The sun can be so unkindDoes it think we don’t really mindSome say it does careThe sun is awareFrankly I find that droubtful

There has gathered a crowdTo jump for the cloud

First to jump is the mousePoor mouse, don’t grouseThen came the ratBut she was too fatNow the raccoonShoots for the moonWell the wild boar, big and strongGets it all wrongFinally the massive grizzly bearTakes to the air

The meager measure wormClimbs inch by inchSlow as everSquirm by squirmAchieves the elusive endeavorEmotions overflowAs it rains down below

THE SKUNK’S SONGI am a big thicket hog-nosed skunkAnd if I get sick it’s because I am drunkIt’s the best way to copeWith the absence of hope

Here is Carolina ParakeetBut alas she could not competeListen to the Passenger Pigeon squealBecause none of us is really real

Or to put it more succinctlyWe’re performing for you extinctly And after the curtain closesEach of us decomposesSo while we’re still hereWhy don’t we have another beerWe can drink to the icebergs shrinkingWe can clink to the distinctionBetween my extinctionAnd your extinction

THE STAG AND THE LIONA thirsty stag drinks from a poolAnd stares at his reflection in the waterAt first he brags about the length of

his antlersAnd thinks no other stag could be hotter

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There is no intermission during this performance.There is no intermission during this performance.

But short-lived was the stag’s splendorFor as he adjusted his positionHe saw his legs, weak and slenderHis confidence shifted to inhibition

“Woe is me”He cries with his last breath“Woe is me”As he contemplates his own death“Why did I feel so ashamedMy legs could’ve kept me aliveBut instead I shall be maimedWell, at least my antlersAt least my antlers shall survive”

THE ANT AND THE CHRYSALISLook at this poor ChrysalisImprisoned in his shellHe isn’t feeling well, is heWell we are very busy, very busy, very busyAnd we will not abide the infractionOf this stupid pupa’s lack of action

THE ANTS AND THE DOVENo lyrics

THE GNAT AND THE BULLGNAT: You are moving so slow nowDo you mind if I go now

BULL: Well, I didn’t even notice you were here

And I don’t give a damn if you disappear But if you insist that I should greet youBe forewarned: I might just eat you

THE BELLY AND ITS MEMBERSStupid stomachDopey drowsy bellyGetting in our wayWe work all daySweaty and smellyWhile youEat all the grassAnd pass all your gas

Why don’t you just leave us aloneWe will survive on our own

WE HAVE LOST OUR TASTE FOR ACORNSWe have lost our taste for acornsWe’ve disgraced this place with car hornsIn our race to seize the unseizedWe have chased away the wild beastIn our haste to please the displeasedWe have chased away the wild beast

Animal skins have gone out of fashionSo begins the dawn of dispassionOf fluorescent costumes and glitterOf excessive exhaust fumes and TwitterWe subsist on our lack of contentmentSo we exist in a realm of resentment

We have lost our taste for acorns

THE CICADA AND THE ANTSCICADA: When spring comes aroundI emerge from undergroundTo make my mating soundMy song of sexual urge

But with the temperature rising every yearThe season of spring will soon disappearWhen I really wanna copulateWhen I really wanna procreate

Maybe it’ll help if I strike a poseeven more and more proudlyMaybe if I sing the notesEven more and more loudly

ANTS: We ants cannot concentrateYour cicada song is too loud and too lateWhy don’t you quiet down, do a little danceAnd give up on romance

Your species really has no chanceWe bid you farewell, adieu, so longAnd we trust that you will be quittingQuitting your ear-splitting song

Then at last we won’t be distracted by youThere is always so much we must do

TORTOISE WINS THE RACENo lyrics


THE FOREST AND THE WOODCUTTERWOODCUTTER: This axe I wield is brokenGood news for youA woodcutter disarmedMeans you won’t be harmed

But may I ask for a token from youA broken branch or twoThen I’ll go elsewhereI swear, I swear

[Ha!] Well that would be niceBut here’s some adviceNever turn your backsOn a man with an axe

SKUNK: An axe-man actually seesThe forest for the treesUntil the forest isn’t thereUntil there’s no more breathable airNo more shade from the sunOh, if only trees could run

Forgive me my disgustAt this deceit and abuse of trustForgive me my fervent passionBut why must everything unjustSeem to always be in fashion

INTERLUDE No lyrics

BUTTERFLY DREAMSIn your nightly human dreamYou are a butterflyWho never wonders whyShe is a butterfly

Then this beamOf sunlight hits your faceAnd you awake back in placeBack in the human race

But the butterfly, as she sleptAlso dreamed, she dreamed that she was youShe knew exactly whoShe was passing through

You hugged your pillow and weptOn behalf of the butterfly‘Cause butterflies cannot cryThey barely live, then they die

Before you come completely undoneRemember nature and you are oneAnd when you dream about anything

that lives and diesIt dreams of you likewiseWhen you dream about anything that

lives and diesIt dreams of you likewise


Order is subject to change.

All words and music by Corey Dargel© 2012–13 Automatic Heartbreak (ASCAP)

BIOGRAPHIESArmitage Gone! Dance

Over the past 30 years, Karole Armitage and her dancers have shaped the evolution of contemporary dance through the creation and performance of new works. The most recent incarnation of the company, Armitage Gone! Dance (AG!D), was launched in 2004 when Karole Armitage returned to the U.S. after 15 years of working abroad. Dedicated to redefining the boundaries and perception of contemporary dance, the company extends the mandate of innovation that characterizes both her earlier Armitage Ballet, founded in 1985, and her first full-time company, Armitage Gone!, founded in 1979. AG!D is well known for its collaborations with innovators in music, science and the visual arts. The company regularly performs to live music and has commissioned numerous scores since its 2004 debut. Known for their free spirited panache, Armitage Gone! dancers bring unique flavors and strong personality to the stage.

Karole Armitage (Artistic Director) was rigorously trained in classical ballet and began her professional career in 1973 as a member of the ballet du Grand Théâtre de Genève, Switzerland, a company devoted exclusively to the repertory of George Balanchine. In 1976, she joined Merce Cunningham’s company performing leading roles in Cunningham’s landmark works. Through her unique and acute knowledge of the aesthetic values of Balanchine and Cunningham, Armitage has created her own “voice” in the dichotomy of classical and modern dance. Known as the “punk ballerina,” Armitage created her first piece in 1978, followed by the iconic Drastic Classicism in 1981 at DTW. Armitage is renowned for pushing the boundaries to create contemporary works that blend dance, music and art. She is inspired by disparate, non-narrative sources, from 20th century physics, to 16th century Florentine fashion, to pop culture and new media. In her hands, the classic vocabulary is given a needed shock to its system, with speed, fractured lines, abstractions and symmetry countermanded by asymmetry. Music is her script and she has collaborated with contemporary and experimentalist composers such as Rhys Chatham, Vijay Iyer, Lukas Ligeti and John Luther Adams. The sets and costumes for her works are often designed by leading artists in the contemporary art world, including Jeff Koons, David Salle, Phillip Taaffe and Brice Marden. She collaborates with scientists as well, recently working with Dr. Brian Greene of Columbia University and Dr. John Harte of UC Berkeley. She directed the Ballet of Florence Italy (1995–1998), the Biennale of Contemporary Dance in Venice (2004), served as resident choreographer for the Ballet de Lorraine in France (1999-2004) and created works for many companies including The Bolshoi Ballet, Ballet Nacional de Cuba, Les Ballets de Monte Carlo, The Rambert Dane Company, the Paris Opera Ballet, The Kansas City Ballet, and Alvin Ailey Dance Theater. She choreographed two Broadway productions (Passing Strange and Hair, which awarded her a Tony nomination), videos for Madonna and Michael Jackson and several films for Merchant Ivory productions. Known for directing opera from the classical repertoire for important European Opera houses, she choreographed The Cunning Little Vixen for the New York Philharmonic (2011) and the Cirque du Soleil production Amaluna (2012). Armitage was awarded France’s most prestigious award in 2009, Commandeur de l’Ordre des Arts et des Lettres and is the recipient of a Guggenheim Fellowship. She is a 2012 artist-in-residence at the ChinatiFoundation, founded by artist Donald Judd in Marfa, Texas and is recipient of a Doctorate of the Arts Degree from the University of Kansas.


Corey Dargel (Composer/Lyricist) is a Texas-born composer and singer-song-writer whom The New York Times calls “one of the more original and consistently provocative artists pushing at the margins of modern classical music and adventur-ous pop,” and whom Minnesota Public Radio describes as “a wonderfully difficult artist to define.” Dargel has shared the stage with artists ranging from Owen Pallett and Joanna Newsom to the Brooklyn Philharmonic, the string quartet ETHEL, and the electric guitar quartet Dither. His latest commercial album is Someone Will Take Care of Me (2010, New Amsterdam Records).

Doug Fitch (Visual Director) is Visual Artist, Director, Designer and Artistic Director of the company Giants Are Small. He first collaborated with Karole Armitage on a production of The Cunning Little Vixen for the New York Philharmonic, which he designed and directed. His much acclaimed production of Le Grand Macabre which featured a live-filmed, projected miniature theater, was also produced for the New York Philharmonic by Giants Are Small. Other works include A Soldier’s Tale with Pinchus Zuckerman and F. Murray Abraham; Peter and the Wolf at the Los Angeles Philharmonic. Other projects include Elliot Carter’s opera, What Next? conducted by James Levine; Hansel and Gretel for Los Angeles Opera and Das Rheingold for the Royal Stockholm Philharmonic.

Clifton Taylor (Lighting Design) has created lighting, projection and scenic designs for theater, dance and opera companies around the world. He is a longtime collaborator with Karole Armitage. Broadway credits include: Jay Johnson: The Two and Only (Ovation Award & LA Drama Critics Circle Nomination) and Frozen (Lortel Nomination). His designs for dance have been commissioned for Alvin Ailey,

American Ballet Theatre, San Francisco Ballet, Scottish National Ballet, Les Grands Ballets Canadiens, Ballet de Lorraine (Nancy, France), Ballet Jazz de Montreal, Maggia Danza (Florence, Italy), Sardono Dance Theatre (Indonesia), and the Ballet Company of Rio de Janeiro among many others. In addition he is the resident designer for Philadanco and Elisa Monte Dance and has designed extensively for Lar Lubovitch, Ron K. Brown and Larry Keigwin. Other recent collaborators include: Camille Brown, Benoit Swan Pouffer for Cedar Lake, Jarek Cemerek, Pascal Rioult and Septime Webre among many others. Extensive work in opera includes several projects with the Tanglewood Music Center, the Gotham Opera, as well as the Juilliard School, the New York Philharmonic, Chile’s Teatro del Lago, and the Opera de Lorraine (Chatelet Theater, Paris). Taylor was educated at the Tisch School within New York University and resides in New York City with his family.

Katharina Otto-Bernstein (Dramaturge) is an award-winning writer, film director and producer, who received both her Bachelor of Arts and Master of Fine Arts in Film from Columbia University. Her work has been shown at film festivals around the world and is known for its dynamic storytelling, with a focus on the individual in society. International releases include the acclaimed Absolute Wilson, chronicling the life and times of leading avant-garde theatre artist, Robert Wilson; Beautopia, The Need for Speed; and The Second Greatest Story Ever Told starring Mira Sorvino and Malcolm McDowell. In addition, Otto-Bernstein is the author of the Robert Wilson memoir Absolute Wilson—The Biography and The International Fable Collection (working title), featuring fables for children through the ages from around the globe. In 2009, she was the recipient of the prestigious Columbia University Alumni Medal.


Dr. John Harte (Science Advisor) is at the forefront of scientific studies on the biological impacts of climate change and humanity’s role in the disruption of ecosystems. Based at UC-Berkeley’s Department of Environmental Science, his research encompasses biochemical and climate-ecosystem processes of global warming and ecology.

Ahmaud Culver (Dancer) received his Bachelor of Fine Arts in dance at the California institute of the arts (CalArts). Since leaving CalArts, Culver has worked with Pasadena Dance Theater, Helios Dance Theater, Rock School of Ballet and Eglevsky Ballet, to name a few. Culver was the principal dancer for The Glory of Christmas at the Crystal Cathedral. Culver is currently living in New York where he has just finished his third year with the international touring company NY2Dance. This is Ahmaud’s first season with Armitage Gone! Dance.

Cristian Laverde König (Dancer) was born in Cali, Colombia and received his professional training at The Instituto Colombiano de Ballet (Incolballet) and The Escuela del Ballet Nacional de Cuba under a full scholarship. He has been a soloist for The Ballet Nacional de Cuba, Ballet de Cali, Hartford Ballet and Ballet Internationale, and has served as Principal Dancer for the Maximum Dance Company, the Milwaukee Ballet and the Slovak National Ballet. He has performed works by world-renowned choreogra-phers such as George Balanchine, Twyla Tharp, and Martha Graham. He originated principal roles on works by choreogra-phers such as Maurice Causey, Lila York, Petr Zahradnicek, Ivo van Zwieten, Paolo Mohovich, Jean Christophe Blavier, among others. König has been the recipient of various prestigious national and international awards and currently resides in New York City.

Daniel LaMont Moore (Dancer) was born in Washington, D.C., where he began his dance training with The Northeast Performing Arts Outreach Youth Center. He attended Suitland High School for the Visual and Performing Arts, where he studied under Linda Darr, Barbara Marks, and also had the opportu-nity to work with renowned actress Debbie Allen. Moore majored in Ballet Performance at The University of the Arts and studied under Douglas Becker, formally of the Frankfurt Ballet. He has been awarded scholarships from The Debbie Allen Dance Academy, Dance Theatre of Harlem, The John F. Kennedy Center for the Performing Arts, The Dance Institute of Washington, and the Earl Mosley Institute of the Arts. He has been a guest dancer for The Pennsylvania Ballet and has worked with Debbie Allen, Zane Booker, Fabian Barnes, Arthur Mitchell and Earl Mosley. Moore’s most recent television credits include The Ovation Network series produced by Nigel and Simon Lythgoe. This is his first season with Armitage Gone! Dance.

Abbey Roesner (Dancer), born in Baltimore Maryland, began her dance training the Baltimore School for the Arts (BSA). She attended the school’s TW.I.G.S (to work in gaining skills) program then attended BSA as a full time high school student. After graduating second in her class, Roesner continued her studies at the Juilliard School where she received her Bachelor of Fine Arts in 2006. Roesner started her professional career freelanc-ing in New York City, dancing for compa-nies and choreographers including the Metropolitan Opera Ballet and the Chamber Dance Project, Wally Cardona and Davis Robertson. In 2007, she left the United States to join Les Grands Ballets Canadiens de Montreal. There, she danced works by Ohad Naharin, Stijn Celis, George Balanchine, and Fernand Nault while touring throughout Canada


and Europe. She joined Armitage Gone! Dance in June of 2008 and continues to be inspired by her fellow company members and their work. In addition to her work with AG!D, Roesner has had the pleasure of working at Dance Theater of Harlem with Francesca Harper and Harlem Dance Works 2.0. She has also danced with Julia Gleich & Norte Maar, and in collaboration with director Robert Woodruff and choreographer Brook Notary. Roesner assists with teaching and recruitment for Elliot Feld’s Ballet Tech School, and she has a passion for knitting and photography. This is Roesner’s fifth season with Armitage Gone! Dance.

Lourdes Rodriguez (Dancer), a native of Havana, Cuba, began her training in the U.S. at the Miami Conservatory. Rodriguez attended New World School of the Arts College where she trained in Ballet, Horton, Graham, and Limon techniques. She furthered her training at North Carolina Dance Theatre under the direction of Jean- Pierre Bonnefoux and Patricia McBride, where she performed in George Balanchine’s Raymonda Variations and Serenade. Rodriguez has danced with Staten Island Ballet and Dance Theatre of Harlem Ensemble. Rodriguez previously performed with Armitage Gone! Dance in 2011; this is her first season as a company member.

Emily Wagner (Dancer) trained under scholarships at the Flint Youth Ballet, Virginia School of the Arts, and the American Ballet Theatre School. Her most influential training came from Sabrina Pillars, a friend and mentor from the New York City Ballet. Wagner has performed nationally and internationally with

companies including: Ballet Austin, Eglevsky Ballet, Ballet Noir, Terra Firma Dance Theater, International Ballet Theater, and BalletX in Philadelphia. In 2005, she performed Peter Breuer’s Bolero in Salzburg, Austria, with the Salzburg Ballett and from 2005 to 2007, she danced as a soloist with the Movement Network of Amsterdam, the Netherlands. While in Europe, she also received an International Pilates Certification with Body Arts and Sciences international. In addition to regularly freelancing in New York City, Wagner dances as a tango artist with the New Generation Dance Company and is a guest artist with The Pennsylvania Ballet. Wagner has also modeled for Sansha and KD Dance and is very happy to be dancing with the company. This is Emily’s fourth season with Armitage Gone! Dance.

Masayo Yamaguchi (Dancer) was born in Nagano, Japan. She started ballet training with Ms. Tamae Tsukada. She performed in Austria, Hungary, Slovakia and Japan. In 1998, she performed the pas de trios in Swan Lake as a part of Leningrad Ballet’s tour in Nagano, Japan. She studied and graduated with a Bachelor of Fine Arts in dance education from the University of Central Oklahoma (UCO). She was a member of Kaleidoscope Dancer Company and received the Kaleidoscope Dance Award at UCO in 2003. She moved to New York City in 2003, as a member of the Faune Dance Troupe. She performed with Armitage Gone! Dance as a guest dancer at the Duke on 42nd Street Theater in 2005, at the Joyce Theater in 2007 and most recently at Lincoln Center Out of Doors in August 2008. This is Masayo’s fifth season with Armitage Gone! Dance.


ORGANIZATIONArtistic Director: Karole ArmitageGeneral Manager: Phil ChanCompany Manager: Jessica CabreraStage Manager: Dathan ManningPress: Blake Zidell & Associates

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Fables on Global Warming

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